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You can skip movies 10 times but never go back.
A police detective falls in love with the woman whose murder he's investigating.
The perfect noir comedy of desire, an erotic refraction played in dapper proximity to Hitchcock (what’s taken from Rebecca is passed on to Vertigo). The famous opening introduces aristocratic Manhattan as a perfumed glass cabinet, a whip pan followed without pause by a dolly-in reveals Waldo Lydecker (Clifton Webb) in his bathroom soaking like Marat, venomous typewriter suspended above a marble bathtub. Queenly aesthete and viperish columnist ("sentiment comes easy at 50 cents a word"), he finds a Galatea in Laura (Gene Tierney) and helps her ascend from Madison Ave. go-getter to shimmering socialite. A disfigured corpse brings out the blue-collar detective (Dana Andrews) and the shady bourgeoisie: a sponging playboy (Vincent Price), the "lean, strong body" easily toppled, and…
Blown away. I can't believe that this movie exists and that I hadn't seen it until now and that it achieves as much perfection as it does in under 90 minutes. This is absolutely essential viewing for any fans of film noir and particularly for anyone interested in the femme fatale as a symbolic cinematic figure. It's also the first time I've really been bowled over like this since I discovered and fell in love with The Conformist back in May. Anyway:
"My mother always listened sympathetically to my dreams of a career. Men taught me another recipe."
Laura (Gene Tierney) is dead. Shot in the face with a shotgun. Detective McPherson (Dana Andrews) is on the case, and he's…
Part of my War Years Challenge
Ah, film noir. If you are a fan, this film is a pure delight, winner of the Oscar for Best Cinematography, Black & White and nominated for four additional Academy Awards, including Best Screenplay and Art Direction. Otto Preminger was shortlisted for the Best Director Oscar, while Clifton Webb was named among the nominees for Best Supporting Actor. It's a case study in the making a masterful monochromatic mystery.
Dana Andrews plays police detective Lieutenant Mark McPherson, assigned to investigate the shotgun murder of advertising executive Laura Hunt (Gene Tierney). She was apparently killed in her apartment on a Friday night, and over the weekend her friend Ann Treadwell (Judith Anderson) identifies the faceless body,…
A mystery film noir directed by Otto Preminger firing on all cylinders. The nights are pitch black, the weather is restless and the brightly lit interiors are filled with cigarette smoke, antique furniture and walking old-fashioned costumes. The atmosphere is stylishly conveyed and acutely perceived. The black and white cinematography is beautifully stark, the camera is moving smoothly, the dissolves are seamless. The sweeping, grandiose and dramatic score gives such weight to unfolding scenes. The dialogue is smart and very well written, excellently punctuated by the cast, part of which are Dana Andrews as the experienced and determined detective and Gene Tierney as the beautiful, attractive and fascinating titular character.
The mystery surrounding the murder is expertly constructed, allowing for…
An incredible film about male projection. LAURA initially plays into the cliché that tends to type all movies that start with the focal character dead, wherein the viewer gets to feel like that person is an active, driving character for the force they continue to exert on the living. But in this case, when Laura is revealed to be alive, her actual presence throws everything that came before into disarray, revealing that image driving the story to be nothing more than the idealized visions of different men in love with her. I've been wanting to watch this movie for years (it spent a solid year near and at the top of my Netflix queue but the disc was always rented out), but never knew anything about it. Imagine my surprise to get not only a great noir an incredibly ahead-of-its-time reflection on noir's pedestal problem.
Otto Preminger's "Laura" is an engaging murder mystery whose gender politics help it make compelling social commentary. That commentary never bubbles clearly to the top, however, creating an interesting subtext beneath the noir tropes at work in Preminger's gripping and satisfying drama.
Dana Andrews stars as a detective investigating the murder of Gene Tierney's Laura. Laura, the object of affection of two different men, soon becomes the object the detective's affection as well; though, he only knows her through her portrait and the stories told by those who knew her. The narrative moves down a twisty path, revealing truths that make the story memorable.
Under the front-and-center detective tale, lurks the story of a woman who lives, perhaps even dies,…
Film noir at it's finest! The movie actually kept me guessing the majority of the time; that's the last time I'll ever underestimate how unpredictable a movie from this period can be. At first I wasn't all too thrilled with our main characters, although Waldo seemed pretty interesting and seeing a young Vincent Price was a treat. I thought Laura's character was just going to be a pretty face (or just a dame, as the detective says), and I thought Dana Andrews's monotone detective performance was going to get old.
It turned out I was completely wrong about all my initial feelings of Laura. As the flashbacks are played out and we learn more about the characters, they become more…
An odd movie. Edgar G. Ulmer's "Detour" with a budget, but so much more. Unsettling, campy, tedious, bizarrely paced, shocking in it's psychological depth and yet confounding as to it's perspective. There are many movies at play in "Laura", one half in opposition to the other as to the film's direction, but it achieves a charm and intoxicating aftertaste that leaves it lingering in the memory after a more perfect movie has been long forgotten.
Vincent Price double feature this week! I'm classing up the joint by finally watching one of the definitive film noirs.
I love the cynical edge this movie has- it seems almost everybody is on the make. The dialogue is razor sharp. And it has a great twist halfway through the picture, especially for that period (poor Diane Redfern!)
Gene Tierney is absolutely gorgeous as the titular "Laura." Her character and performance is well ahead of its time as an independent career woman in 1940's New York City.
Dana Andrews is almost a proto-Jack Webb as the terse police detective.
The supporting cast is excellent as well- Price (in one of the best roles of his career) is great as the…
Gotta love Otto Preminger. "Laura" is probably not one of his best, but I always enjoy a whodunnit, especially when there is snooty, venomous writer and a detective always grousing about "dames." Melodramatic but still delightful.
Um resumo do mérito de Preminger pode ser feito ao constatar como ele consegue criar um encantamento geral em Laura antes mesmo dela sair do quadro. Filmaço!
Screened as part of “Noir Fest I”
I had never before fallen under Laura’s spell. I’ve heard people wax poetic for years about the movie’s brilliance, but even after three viewings I found myself just shrugging. But a line in Fernando F. Croce’s capsule review sparked something for me. He calls it the “perfect noir comedy of desire,” comparing it to Hitchcock’s Rebecca and Vertigo. So after another viewing, lo and behold, it finally connected for me. Laura doesn’t register for me as noir. But as a lush, psychological drama of some kind of obsession, it is indeed magical. Clifton Webb’s Waldo Lydecker reads too clearly as gay for this to be interpreted as romantic obsession (note that it’s not…
This film is incredibly solid. Just all around intriguing, interesting characters and situations. Though I'm not personally a huge fan of detectives surrounding damsels in distress OR femme fatales. Just seems like an easy way to tell a story about dudes double crossing eachother with the attractive aesthetic of a woman in the mix. But nonetheless this film is suspenseful, and the lead detective is STRONG. This almost seems like an inverted mystery. The detective knows so so much, and isn't stumped by much of anything (besides finding out Laura is still alive) but this isn't no Chinatown. The detective is constantly on people's shit in Laura.
This review may contain spoilers. I can handle the truth.
Might be my favorite Noir film second to Sunset Boulevard. Although I enjoyed it more before they reveal the twist. But the structure of the narrative KILLS me. God damn.
This review may contain spoilers. I can handle the truth.
내 것이 안된다면 차라리 터뜨려 버릴거야!
아름답고 재능있는 로라를 절대로 다른 이에게 보낼 수 없는 한때 그의 '후견인' 리다이크.
술, 복잡한 여자 관계로 젊음과 재산을 탕진하는 룸펜, 카펜터.
로라의 살인 사건을 수사하면서 정작 피살된 로라를 사랑하게 된 형사, 맥퍼슨.
이 세 남자 사이에 끼어 다시 살아났다 또 죽을뻔 한 불사조, 로라.
새삼 느끼지만 옛날 영화가운데 재미있는게 참 많이 있다.
재능있는 감독의 멋진 연출
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